Yes, this was actually better than the first part of this trilogy; this
film doesn't show a lot of sappy scenes where all trauma lies explained
- all childhood related - and the start of the film, where three
parallel stories unfurl, is quite exciting. Still, it all dribbles down
to one fatal flaw that people like Shakespeare, Akira Kurosawa and John
Ford realised: if you use simple stereotypes and decide to tread the
path that says "all bad guys must go down", you must have a twist on
it. Here, there is none, and the film rots from the half to the end,
where script, tempo, dialogue, and everything else suffers but lens
glares are prioritised. Oh, well.

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